DOCSLIB.ORG

Rhcpfrance.Com Rhythm Feb. 1993 Matt Cameron Is Feeling Pretty Good

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rhcpfrance.Com Rhythm Feb. 1993 Matt Cameron Is Feeling Pretty Good Rhcpfrance.com Rhythm Feb. 1993 Matt Cameron is feeling pretty good right now. In the last year, he and his band Soundgarden have enjoyed the success of their biggest-selling album, Badmotorfinger, which received praise from both the underground and mainstream media and boosted them out of college radio purgatory Despite it all, this afternoon he appears consumed by only one stubborn thourhg: that his band will soon rip through their final set on the last night of the 1992 Lollapaooza tour. Everything is coming to a head. Icing on the cake. "It's been great, man." he says, half-yelling over the music blaring from the main stage, only yards away "I'm going to miss everyone a lot. All the new acquaintances we've made. All the bands. The vibe." Some spirited fans approach Cameron, who tends to them with genuine kindness. As they walk away, however, he offers a further insight into the moment: "I just want to go home (to Seattle). I totally miss everyone there." He can tast it, everyone seems to. It's almost the end of what has been a long, productive tour, a moment when all the players--musicians, stage hands, bus drivers, sound people, food vendors, and, in the case of this particular tour, body piercers and anarchists--can begin to take stock, to exhale a bit. Ready to capture the moment, the journalist leans into Cameron, tape recorder first, and asks, "How was Lollapalooza different from other tours?" Rather than demean an obvious question, Cameron responds: "the only thing I can compare it to is doing festivals in Europe where they have ten bands in one day. It starts in the afternoon, goes all night. And there's food, and booths, and stuff set up. It's that kind of vibe that they're capturing on this tour, which the States has ever had." The interviewer jumps in: "They're really big on it in Europe. We played this thing in Belgium, it was the strangest bill. We had Extreme, then Smashing Pumpkins, Lou Reed, us, and Bryan Adams. But people stayed and rocked. They rocked for us and then they rocked for Bryan Adams. I think their tastes are more varied over there." Cameron has no reason to doubt it since he's come to know the teller of this tale very well over the past few months. It's Chad Smith--drummer with headlining band the Red Hot Chili Peppers--who interviewed as many of the Lollapalooza drummers as he could for this article. We wanted to look back at the most important roving cultural event of 1992 through the eyes of its drummers, and the ears of Chad Smith. In the process these musicians, who represent (whether they like it or not) the cutting edge of popular music, also gave us a glimpse of the future. Smith:We should talk about some drummer things since this is a drum magazine. Cameron:A drum magazine? That's all we need, man. Over the course of the tour, the drummers formed a fraternity forged of utual respect, delivaratly avoiding competitive rivalries. Some even admit to it with surprise. "When I came on board, I expected not to like a couple of bands," says Bill Rieflin, Ministry's drummer. "I heard some records, and I just wasn't interested in what they were doing. But after seeing them all a number of times, I think that every single band on this tour is a really good live band and I would happily see them any day." Rhcpfrance.com That's a pretty big statement. Even though these bands are conveniently grouped under the 'alternative' banner for easier processing, their styles diverge radically, from the Chili Peppers' hardcore funk to Ministry's wall of noise. Smith:So, what deep and meaningful questions can I ask you? Cameron:Oh, I've got a good joke. Smith:Okay, tell me a good joke. Cameron:What do you get when you cross a drummer and a gorilla? Smith:What? Cameron:A really dumb gorilla. Matt Cameron says the floodgates opened for him when he learned to play his first beat: Johnny Winter's 'Rock & Roll Hoochie Coo'. At the age of 17 he began to study with a teacher who opened his ears to drummers like Elvin Jones, Tony Williams, and Steve Gadd. "So basically I started copping all of those guys," he recalls. "The rock thing faded as soon as I heard jazz drummers, because they were really musical, and not really flashy or anything. Then I started listening to a lot of punk bands, so I started getting both influences there. Smith: That's like Flea's influences. He started as a jazz musician, brought up on jazz. Then he moved to LA and went and saw Fear, and it changed his whole thing. I think it's a good background to have because you get the musicality and then you get down to where the feelings are. It's so hard. So many musicians and drummers get caught up in the technique. What do you think is more important, technique or inspiration?" Cameron:Well, obviously you've got to have some technique. Then if you're inspired to play music, hopefully the technique will help you to get to a different level where you can express your inspiration and do what you're hearing inside your head. I picked up on the technique stuff pretty naturally. It was a really good thing for me to learn, because I was able to go on from there. Now it's hard to tell if what I'm playing is technique or inspiration. But after you've played for a long time, it all becomes second nature. I think it takes a while for you to hit that plateau." Wiff Smith, from The Jesus & Mary Chain, reacts wistfully to Cameron's philosophy. "I'd love to relax," he says. "But I've always tried to play like a drum machine. A lot of Jesus & Mary Cain music has been written and recorded with a drum machine, either that or drum loops. When I learned the set, I learned the drum machine parts by heart, literally. I like to concentrate a lot on making every beat count, but I would really like to play free. It'd be a lovely experience." The mood lingers for a second or so before Wiff laughs explosively, "But I'm completely happy!" He has good reason to be. Only months ago, Wiff was sitting several feet behind the drumer in The Jesus & Mary Chain, duct tape at the ready. "I was drum teching," he explains. Proving that, indeed, timing is everything. Wiff noticed the writing on the wall while he was working with the band in Europe. "They'd had enough of their previous drumer, so they auditioned me--and bingo, I suddenly got this opportunity to start playing again." Rhcpfrance.com And Wiff isn't alone in his good fortune. Dave Abbruzzese joined Pearl Jam just as their popularity began to erupt. As evidence of the band's quantum leap into the charts, Pearl Jam were originally scheduled to appear early in the daily roster of bands. However, after they'd played only a handful of Lollapalooza dates, sales of their debut album, Ten, rocketed. Ten may prove to be the biggest-selling album of 1992 from any of the Lollapalooa bands--it dominated the Top 10 for the remainder of the tour. Surprisingly, though, Abbruzzese was glad that his band retained their early slot on the bill. "I think if they'd put us on last we wouldn't have taken the tour. There's no way we would ever play after you," he says to Smith, "or after Ministry, or after Soundgarden." Maybe Abbruzzese's right, and Wiff categorically agrees. His band has had to follow Abbruzzese's band every night... "We've got a problem with Pearl Jam playing before us. Everyone in the audience has gotten really high during Pearl Jam's set and they've exhausted themselves. For us to go on afterwards is hard work." Countless problems, including the sensitive politics of set scheduling, are bound to crop up during a tour of this size and duration. But few of the drumers griped. Only Rieflin cited one rock concert tradition that he longed for: "I miss soundchecks, because you can work out kinks in the set and work out new tunes. You can get familiar with the stage sound, and actually work on the monitors. No fault of our monitor guy, because he's great," he adds quickly. Smith:Here's a question. Are there any drumming styles that you're interested in exploring? Abbruzzese:Oooh. Exploring styles? Just somebody tell me where the 'one' is. I'll show you where the 'four' is, and we'll make it happen. Smith:All of the mathematics needed in drumming is counting from one to four. Abbruzzese:Right, or one to two, if you just kind of do it...differently. Maybe just one. Straight one. Smith;It's not one, two, three, four. It's... All;One, one, one, one! Abbruzzese:Infinity. Everything. Smith:(with a fake English rock star accent) Forever. Abbruzzese:Hey, come in on the 'one' with me. Smith:And you always know where it iss, no matter where it is. You're coming in on the one. Abbruzzese:You can never be wrong. What's up with the band, though? Restrained by the fact that this is a family paper, we won't be exploring all of the fringe benefits enjoyed by the Lollapalooza drummers.
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • SOUNDGARDEN Superunknown (Hard Rock)
    SOUNDGARDEN Superunknown (Hard Rock) Année de sortie : 1994 Nombre de pistes : 16 Durée : 70' Support : CD Provenance : Acheté Nous avons décidé de vous faire découvrir (ou re découvrir) les albums qui ont marqué une époque et qui nous paraissent importants pour comprendre l'évolution de notre style préféré. Nous traiterons de l'album en le réintégrant dans son contexte originel (anecdotes, etc.)... Une chronique qui se veut 100% "passionnée" et "nostalgique" et qui nous l'espérons, vous fera réagir par le biais des commentaires ! ...... Bon voyage ! Formé à Seattle, SOUNDGARDEN est généralement associé à la mouvance Grunge qui explose en 1991 avec NIRVANA et son album essentiel Nevermind. La musique du groupe emmené par le chanteur Chris CORNELL ne se résume toutefois pas à ce courant. Des similitudes peuvent être constatées, en premier lieu de par l’appartenance des deux formations à cette nouvelle scène de Seattle. Bruce PAVITT, fondateur du label Sub Pop, figure en effet parmi les amis du groupe, ce qui lui permet, avant NIRVANA, de devenir la première formation signée par l’incontournable officine Underground. Ensuite, la musique de SOUNDGARDEN est fréquemment caractérisée par la noirceur et la mélancolie. Cependant, Badmotorfinger, deuxième effort du groupe publié en 1991 par la compagnie nationale A & M, avec laquelle il vient de conclure un contrat avantageux, révèle des influences qui le rattachent davantage au Metal. L’album comporte de nombreuses compositions reposant sur des riffs plombés. Ainsi Jesus Christ Pose rappelle fortement LED ZEPPELIN, et le groupe paie sa dette à BLACK SABBATH sur le titre Slaves & Bulldozers. Après ce disque acclamé par la critique, SOUNDGARDEN connaîtra son apogée avec la sortie en 1994 de Superunknown, qui devient numéro un aux États-Unis avec trois millions d’exemplaires vendus.
    [Show full text]
  • September 1995
    Features CARL ALLEN Supreme sideman? Prolific producer? Marketing maven? Whether backing greats like Freddie Hubbard and Jackie McLean with unstoppable imagination, or writing, performing, and producing his own eclectic music, or tackling the business side of music, Carl Allen refuses to be tied down. • Ken Micallef JON "FISH" FISHMAN Getting a handle on the slippery style of Phish may be an exercise in futility, but that hasn't kept millions of fans across the country from being hooked. Drummer Jon Fishman navigates the band's unpre- dictable musical waters by blending ancient drum- ming wisdom with unique and personal exercises. • William F. Miller ALVINO BENNETT Have groove, will travel...a lot. LTD, Kenny Loggins, Stevie Wonder, Chaka Khan, Sheena Easton, Bryan Ferry—these are but a few of the artists who have gladly exploited Alvino Bennett's rock-solid feel. • Robyn Flans LOSING YOUR GIG AND BOUNCING BACK We drummers generally avoid the topic of being fired, but maybe hiding from the ax conceals its potentially positive aspects. Discover how the former drummers of Pearl Jam, Slayer, Counting Crows, and others transcended the pain and found freedom in a pink slip. • Matt Peiken Volume 19, Number 8 Cover photo by Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 100 ROCK 'N' 10 UPDATE 24 NEW AND JAZZ CLINIC Terry Bozzio, the Captain NOTABLE Rhythmic Transposition & Tenille's Kevin Winard, BY PAUL DELONG Bob Gatzen, Krupa tribute 30 PRODUCT drummer Jack Platt, CLOSE-UP plus News 102 LATIN Starclassic Drumkit SYMPOSIUM 144 INDUSTRY BY RICK
    [Show full text]
  • Warriors of Rock with Over 18 New Downloadable Tracks for the Guitar Hero® Music Library
    Celebrate the Launch of Guitar Hero®: Warriors of Rock With Over 18 New Downloadable Tracks for the Guitar Hero® Music Library All 12 Singles from Soundgarden's Platinum-Selling New Album Telephantasm, Legendary Rocky Horror Picture Jams and More Available This October SANTA MONICA, Calif., Oct 12, 2010 /PRNewswire via COMTEX News Network/ -- Already augmenting the massive 93 song on- disc set list in Activision Publishing, Inc.'s (Nasdaq: ATVI) Guitar Hero(R): Warriors of Rock with over 550 additional tracks currently available, the Guitar Hero(R) music library is bringing even more rockin' hits and legendary jams this October with over 18 new downloadable tracks. Featuring tracks from some of today's biggest artists including Soundgarden, Muse, My Chemical Romance and more, plus a trio of hits from the longest-running theatrical film in history, the Rocky Horror Picture Show, this month's downloadable content is set to heighten the rock experience. Delivering a fresh batch of shredtacular hits exclusively to the Xbox LIVE(R) Marketplace for the Xbox 360(R) video game and entertainment system from Microsoft, the Rocktober track pack is sure to satisfy every player's inner rock warrior with three hits from three rocktastic bands. Beginning today, Gold Members will be able to download the track pack for free for one week. The Rocktober track pack includes Disturbed's "The Infection," Muse's "Resistance" and "Na Na Na" by My Chemical Romance. Beginning on October 19, the track pack will be available for purchase for all Xbox 360 budding musicians around the world. On October 26, players can enter the world of Dr.
    [Show full text]
  • Soundgarden Badmotorfinger Mp3, Flac, Wma
    Soundgarden Badmotorfinger mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Badmotorfinger Country: UK & Europe Released: 2016 Style: Alternative Rock, Hard Rock, Grunge MP3 version RAR size: 1567 mb FLAC version RAR size: 1577 mb WMA version RAR size: 1874 mb Rating: 4.5 Votes: 107 Other Formats: MMF DXD RA VOC WMA AU AAC Tracklist Hide Credits 1 Rusty Cage 4:26 2 Outshined 5:11 Slaves And Bulldozers 3 6:56 Music By – Shepherd*, Cornell* Jesus Christ Pose 4 6:51 Music By – Shepherd*, Cornell*, Thayil*, Cameron* Face Pollution 5 2:24 Music By – Shepherd* Somewhere 6 4:21 Music By, Lyrics By – Shepherd* 7 Searching With My Good Eye Closed 6:31 Room A Thousand Years Wide 8 4:06 Lyrics By – Thayil*Music By – Cameron* 9 Mind Riot 4:49 Drawing Flies 10 2:25 Music By – Cameron* 11 Holy Water 5:07 New Damage 12 5:40 Music By – Thayil*, Cameron* Companies, etc. Manufactured By – A&M Records Of Canada Limited Distributed By – PolyGram Distribution Inc. Phonographic Copyright (p) – A&M Records, Inc. Copyright (c) – A&M Records, Inc. Recorded At – Studio D Recorded At – Bear Creek Studios Recorded At – A&M Studios Mixed At – Can-Am Recorders Mastered At – Masterdisk Pressed By – Cinram Credits A&R – Bryan Huttenhower Art Direction – Len Peltier Bass – Ben Shepherd Design – Walberg Design Drums – Matt Cameron Engineer – Terry Date Engineer [Assisted By] – Efren Herrera Guitar – Kim Thayil Illustration [Front Cover] – Mark Dancey Lyrics By – Cornell* (tracks: 1 to 5, 7, 9 to 12) Management – Susan Silver Mastered By – Howie Weinberg Mixed By – Ron St.
    [Show full text]
  • Krist Novoselic, Dave Grohl, and Kurt Cobain
    f Krist Novoselic, Dave Grohl, and Kurt Cobain (from top) N irvana By David Fricke The Seattle band led and defined the early-nineties alternative-rock uprising, unleashing a generation s pent-up energy and changing the sound and future of rock. THIS IS WHAT NIRVANA SINGER-GUITARIST KURT Cobain thought of institutional honors in rock & roll: When his band was photographed for the cover of Rolling Stone for the first time, in early 1992, he arrived wearing a white T-shirt on which he’d written, c o r p o r a t e m a g a z i n e s s t i l l s u c k in black marker. The slogan was his twist on one coined by the punk-rock label SST: “Corporate Rock Still Sucks.” The hastily arranged photo session, held by the side of a road during a manic tour of Australia, was later recalled by photogra­ pher Mark Seliger: “I said to Kurt, T think that’s a great shirt... but let’s shoot a couple with and without it.’ Kurt said, ‘No, I’m not going to take my shirt off.’” Rolling Stone ran his Fuck You un-retouched. ^ Cobain was also mocking his own success. At that moment, Nirvana - Cobain, bassist Krist Novoselic, and drummer Dave Grohl - was rock’s biggest new rock band, propelled out of a long-simmering postpunk scene in Seattle by its incendiary second album, N everm ind, and an improbable Top Ten single, “Smells Like Teen Spirit.” Right after New Year’s Day 1992, Nevermind - Nirvana’s first major-label release and a perfect monster of feral-punk challenge and classic-rock magne­ tism, issued to underground ecstacy just months before - had shoved Michael Jackson’s D angerous out of the Number One spot in B illboard.
    [Show full text]
  • Contwe're ACT
    Media contacts for Linkin Park: Dvora Vener Englefield / Michael Moses / Luke Burland (310) 248-6161 / (310) 248-6171 / (615) 214-1490 [email protected] / [email protected] / [email protected] LINKIN PARK ADDS BUSTA RHYMES TO 2008 SUMMER TOUR ACCLAIMED HIP HOP INNOVATOR WILL PERFORM WITH LINKIN PARK, CHRIS CORNELL, THE BRAVERY, ASHES DIVIDE ON PROJEKT REVOLUTION MAIN STAGE REVOLUTION STAGE HEADLINED BY ATREYU AND FEATURING 10 YEARS, HAWTHORNE HEIGHTS, ARMOR FOR SLEEP & STREET DRUM CORPS TOUR BEGINS JULY 16 IN BOSTON Los Angeles, CA (June 3, 2008) – Multi-platinum two-time Grammy-winning rock band Linkin Park has announced that acclaimed hip-hop innovator Busta Rhymes will join their Projekt Revolution 2008 lineup. Rhymes and Linkin Park recently collaborated on “We Made It,” the first single and video from Rhymes’ upcoming album, Blessed. By touring together, Linkin Park & Busta are taking a cue from the chorus of their song: “…we took it on the road…”. As recently pointed out in Rolling Stone’s “Summer Tour Guide,” the tour will see nine acts joining rock superstars Linkin Park, who are also offering concertgoers a digital souvenir pack that includes a recording of the band’s entire set. As the band’s co-lead vocalist Mike Shinoda told the magazine, “That puts extra pressure on us to make sure our set is different every night.” The fifth installation of Linkin Park’s raging road show will see them headlining an all-star bill that features former Soundgarden/Audioslave frontman Chris Cornell, electro-rockers The Bravery and Ashes Divide featuring Billy Howerdel, known for his work with A Perfect Circle.
    [Show full text]
  • Complaint 12-9-2019
    Case 1:19-cv-25045-JEM Document 1 Entered on FLSD Docket 12/09/2019 Page 1 of 24 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF FLORIDA MIAMI DIVISION CASE NO. 1:19­cv­25045 Vicky Cornell, individually, and in her JURY TRIAL DEMANDED capacity, and as the Personal Representative of the Estate of Christopher John Cornell a/k/a Chris Cornell, Plaintiffs, v. Soundgarden, a purported Washington General Partnership, Kim A. Thayil, Matt D. Cameron, Hunter Benedict Shepherd, Rit Venerus and Cal Financial Group, Inc., Defendants. ______________________________________________/ COMPLAINT Plaintiff, Vicky Cornell, individually and in her capacity as the personal representative of the Estate of Christopher John Cornell (collectively, “Plaintiffs”) through counsel, hereby files the following complaint against the defendants, Soundgarden, Kim Thayil, Matt Cameron, Hunter Benedict Shepherd, Rit Venerus and Cal Financial Group, Inc. (collectively, “Defendants”). I. INTRODUCTION “Everybody out for my blood, everybody want my percent … They just want to take what is mine, how much more can they get.” - Sweet Revenge 1. In 2009, Chris Cornell penned these lyrics about his former Soundgarden bandmates after they unlawfully (and unsuccessfully) attempted to deprive him of his rights in connection with the valuable musical works that he created for the band. Ten years later, and after Chris’ untimely passing, these lyrics hauntingly resonate as his former bandmates, once Case 1:19-cv-25045-JEM Document 1 Entered on FLSD Docket 12/09/2019 Page 2 of 24 again, have attempted to “take what is his” – or, more aptly, to steal from his widow and minor children. This wrongful conduct shockingly started shortly after Chris’ untimely death and ultimately forced his widow, Vicky Cornell, to bring this lawsuit.
    [Show full text]
  • Black Hole Sun
    Black Hole Sun Soundgarden Capo 1st fret INTRO G6 Bb6 F Em Eb Dsus4 VERSE 1 G6 Bb6 F Em In my eyes, indisposed, in disguises no one knows Eb Dsus4 G G7 Ab Hides the face, lies the snake, the sun in my disgrace G6 Bb6 F Em Boiling heat, summer stench, ‘neath the black the sky looks dead Eb Dsus4 G G7 Ab Call my name through the cream, and I'll hear you scream again CHORUS Eb Dsus4 Black hole sun, won’t you come G G7 Bb And wash away the rain Eb Dsus4 Black hole sun, won’t you come C D Won't you come, won’t you come ukulelehunt.com VERSE 2 G6 Bb6 F Em Stuttering, cold and damp, steal the warm wind tired friend Eb Dsus4 G G7 Ab Times are gone for honest men, and sometimes far too long for snakes G6 Bb6 F Em In my shoes, a walking sleep, and my youth I pray to keep Eb Dsus4 G G7 Ab Heaven send hell away, no one sings like you anymore CHORUS 2 Eb Dsus4 G G7 Bb Black hole sun, won’t you come, and wash away the rain Eb Dsus4 C Bb Black hole sun, won’t you come, won't you come Eb Dsus4 G G7 Bb Black hole sun, won’t you come, and wash away the rain Eb Dsus4 C Black hole sun, won’t you come, won't you come MIDDLE Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 (Black hole sun, black hole sun) SOLO C’ B A B C’ G’ F# F’ x6 F’ G VERSE 3 G6 Bb6 F Em Hang my head, drown my fear, ‘till you all just disappear CHORUS 2 ukulelehunt.com MIDDLE Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 C (Black hole sun, black hole sun) Won't you come Bb Dsus4 C Bb Dsus4 Won't you come OUTRO C’ B A B C’ G’ F# F’ F’ G VERSE PICKING ukulelehunt.com.
    [Show full text]
  • 1. Rush - Tom Sawyer 2
    1. Rush - Tom Sawyer 2. Black Sabbath - Iron Man 3. Def Leppard - Photograph 4. Guns N Roses - November Rain 5. Led Zeppelin - Stairway to Heaven 6. AC/DC - Highway To Hell 7. Aerosmith - Sweet Emotion 8. Metallica - Enter Sandman 9. Nirvana - All Apologies 10. Black Sabbath - War Pigs 11. Guns N Roses - Paradise City 12. Tom Petty - Refugee 13. Journey - Wheel In The Sky 14. Led Zeppelin - Kashmir 15. Jimi Hendrix - All Along The Watchtower 16. ZZ Top - La Grange 17. Pink Floyd - Another Brick In The Wall 18. Black Sabbath - Paranoid 19. Soundgarden - Black Hole Sun 20. Motley Crue - Home Sweet Home 21. Derek & The Dominoes - Layla 22. Rush - The Spirit Of Radio 23. Led Zeppelin - Rock And Roll 24. The Who - Baba O Riley 25. Foreigner - Hot Blooded 26. Lynyrd Skynyrd - Freebird 27. ZZ Top - Cheap Sunglasses 28. Pearl Jam - Alive 29. Dio - Rainbow In The Dark 30. Deep Purple - Smoke On The Water 31. Nirvana - In Bloom 32. Jimi Hendrix - Voodoo Child (Slight Return) 33. Billy Squier - In The Dark 34. Pink Floyd - Wish You Were Here 35. Rush - Working Man 36. Led Zeppelin - Whole Lotta Love 37. Black Sabbath - NIB 38. Foghat - Slow Ride 39. Def Leppard - Armageddon It 40. Boston - More Than A Feeling 41. AC/DC - Dirty Deeds Done Dirt Cheap 42. Ozzy Osbourne - Crazy Train 43. Aerosmith - Walk This Way 44. Led Zeppelin - Dazed & Confused 45. Def Leppard - Rock Of Ages 46. Ozzy Osbourne - No More Tears 47. Eric Clapton - Cocaine 48. Ted Nugent - Stranglehold 49. Aerosmith - Dream On 50. Van Halen - Eruption / You Really Got Me 51.
    [Show full text]
  • Do You Know Grunge?
    Do you know grunge? Debora Ferrara Design for the fashion system Politecnico di Milano x index what is grunge history of grunge generation X Kurt Cobain the king of fashion fashion trends xdo you know what are you wearing? rather be dead than cool rath be dead than cool rather be dead than cool rather be deadwhat thanis grunge? cool rather be dead than cool rather be dead than cool rather be dead than cool rath be dead than cool sound- garden nirvana alice in Grunge is a word that became synonymous with the Seattle sound. It’s a word that was used to describe a number chains of different “alternative” bands from the region in 1980s, and then also into the 1990s with bands like Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Mudhoney and Screaming Trees. The first noted instance of referring to a Seattle band as “grunge,” was in a 1981 letter by Mark Arm, according to Clark Humphrey in his account of the Seattle music scene, Loser. pearl jam Bruce Pavitt later claimed to have popularized the term as a musical label in 1987, when he wrote some promotional copy for Green River, describing the band as “ultra-loose grunge that destroyed the morals of a generation”. In the late 80s, “grunge” did actually define a sound – high levels of distortion, feedback, fuzz effects, a fusion of punk and metal influences. Many of these bands were on either the C/Z or Sub Pop record labels. Jack Endino, the so-called “Godfather of Grunge” recorded Soundgarden, Mudhoney, Green River, Nirvana and Blood Circus between 1984 and 1989.
    [Show full text]
  • The Guardian, July 22, 1992
    Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 7-22-1992 The Guardian, July 22, 1992 Wright State University Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State University Student Body (1992). The Guardian, July 22, 1992. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. The Guardian ISSUE NO. 2. VOL. 28 WRIGHT STATE UNIVERSITY WEDNESDAY, JULY 22, 1992 O RECYCLED PAP!!* Oops, watch that turn Students to pay more in the fall By THOMAS J. LUCENTE News Editor Wright State University, for the third time in the last four quarters, has raised tuition. Full-time, undergraduate stu- dents will begin paying $979 per quarter this fall. On July 13, the state Con- trolling Board voted to allow universities to raise their tu- ition as much as 9 percent. The previous cap was 7 percent. Am The cap increase came af- ter Gov. George Voinovich, a graduate of Ohio University and The Ohio State Univer- sity. cut $170.2 million from the budget for higher educa- Paige E. Mulhollan The Falrbom fire department had trouble maneuvering their truck earlier this month, tion. damaging the quad and a trash can. Voinovich, who ran for election as the "education gover- education could be facing an- nor," has now cut the higher educa- other 5 percent in cuts at the end tion budget three times since tak- of the calendar year if no im- INSIDE ing office in January 1991.
    [Show full text]